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Tanizaki-junichiro is an author who is closely connected with films. Having produced a series of films as a counselor of taisho-katudo-shasinkaisha, he has fully devoted his affection on films. A number of movie reviews and literary works to have been published with his anthologies and a great number of dissertations related to 'The movies and Tanizaki-junichiro' have proved this aspect.
Many theses which are focusing on his works between the era of Taisho have attracted public attention, particularly. In this era he worked as a literary man and a film producer at the same time. These theses must have played the key role to verify how much the films have been projected into his literature works.
It is, however, the fact that the era of Meiji-period has been completely excluded, in which he indulged himself with movies, the reason being the lack of data and ground. His works related to movies have been limited to the era of Taisho.
Under these circumstances, the goal of this study is to prove the connection of his literary works to movies from his early days. In doing so I intend to grasp the relevancy of his early work 〈SHISEI〉 to movies, based on his perception of films. I plan to assess not only the influence of films on his literary works but also the value of 〈SHISEI〉 itself.
The relevancy of films to be displayed in 〈SHISEI〉 could be found in his literary works. On overall examining, there were several key words.
For Tanizaki-junchiro, when it comes to movies there must exist a "Woman" as in the movies of those days. There are two different worlds. The one is a maze which has the definite goal of cinema-view and the other is a labyrinth where the unrealistic world lies, not knowing the end. Only on this viewpoint of 'real and unrealistic world' and 'maze and labyrinth' could we meet the same woman as Tanizaki-junichiro has met.
Going through this process, he allowed his woman to have her 'metamorphosis' by the procedure of the 'synthesis' of 'real world and unrealistic world', which is one of the most powerful tools of films.
This synthesis is different from the metamorphosis of Japanese traditional play. His literary pieces work on the assumption that she could metamorphose by the encounter of real human beings and unrealistic soul, which could be seen only on the movies of western world.
Viewed through these key words, the work of 'SHISEI' has followed these steps faithfully. His masterpiece 〈sentence pattern;bunsyodokuhon(1933)〉 explains why he showed so much affection to the components of movies. That is for writing 'a sentence to be seen', 'a sentence to memorize easily', and 'a sentence to live in one's memory'.
SHISEI is the first trial for Tanizaki's syntax and is a staged work for his grafted tool with films. With these prospect, we feel like we are seeing a movie the moment when we begin to read the novel of 'SHISEI' and the woman with whom we meet will live forever in our memory with glory.
谷崎の大正期の作品の多くは、映?との?係を切り離して考えることが出來ない。それは作品の所?に見られるその?時の映?の雰??を?み取ることができるからである。それは、映?に?する谷崎の映?へのこだわりを示した評論や、谷崎自身も大正活動??の顧問として(1920)、映?製作に携わっていたことからも窺い知ることが出來る。その?時の映?と谷崎との?連性にして?表された多くの先行の論文を見ても、それは明らかである。
ところが、演劇を嗜好して書かれた「誕生」(1910ㆍ9)と、初めて作品に映?という要素を取入れた「秘密」(1911ㆍ11)の間に執筆された「刺?」(1910ㆍ11)に?しては、谷崎の本格的な映?活動前の作品であることから、その?連性というのが看過されてきたのが、今の谷崎?究の現?である。そこで?表者は、「刺」と映?の?連性を考察した結果、「刺?」には谷崎の映?に?して持っていた重要な手掛かりが?されていることを見つけることが出來た。
谷崎の映?へのこだわりという視点から「刺?」を?み解くためのコ?ドを、三段階に分けて?明することにする。
まず第一段階として、谷崎が好んだ映?には必ず谷崎が理想とする女性が登場したということである。第二段階は、その理想の女性にいに行く、つまり、映?館に行くためには、映?館という目標に?り着かないとうことが出來ないという、いわば、迷路とも言える設定がなされている。そしてその迷路を通過した後、映?館に入って?せられるのは、結末がどうなるか分からない映?、つまり、迷宮の世界となっているのである。そして最後の段階で、非現?である映?に登場する現?の女性の姿に、映?の女性の世界とは違う?物でない非現?の魂と見られるフィルムを合成することによって、女性を?魔へと?身させるのである。姿、形だけではなく、非現?の魂が現?の?に吹き?まれてこそ、谷崎が望む女性へと?身を遂げるのである。その女性は映?の照明と同じような光を浴びながら登場する。それが谷崎の頭に永遠に刻み?まれのである。
このようにして作品「刺?」を?んでいくと、映?にするこだわりが、正に作品に溶け?んでいることが分かる。では何故谷崎はこのような小?「刺?」を?表したのだろうか。それは「文章?本」(1933)に書かれてある次の三つ言葉で?明出來ると思う。谷崎はそこで、文章とは、〈目に見える文章〉〈記憶に?る文章〉〈頭に?き付けられる文章〉であるべきだと述べている。前述の三段階の過程を?ることによって、谷崎が唱える理想の文章が、「刺?」で?現されたのである。谷崎は映?へのこだわりを自分の文章に生かし、小?「刺?」からそれを?現しようとしたのではないだろうか。
Many theses which are focusing on his works between the era of Taisho have attracted public attention, particularly. In this era he worked as a literary man and a film producer at the same time. These theses must have played the key role to verify how much the films have been projected into his literature works.
It is, however, the fact that the era of Meiji-period has been completely excluded, in which he indulged himself with movies, the reason being the lack of data and ground. His works related to movies have been limited to the era of Taisho.
Under these circumstances, the goal of this study is to prove the connection of his literary works to movies from his early days. In doing so I intend to grasp the relevancy of his early work 〈SHISEI〉 to movies, based on his perception of films. I plan to assess not only the influence of films on his literary works but also the value of 〈SHISEI〉 itself.
The relevancy of films to be displayed in 〈SHISEI〉 could be found in his literary works. On overall examining, there were several key words.
For Tanizaki-junchiro, when it comes to movies there must exist a "Woman" as in the movies of those days. There are two different worlds. The one is a maze which has the definite goal of cinema-view and the other is a labyrinth where the unrealistic world lies, not knowing the end. Only on this viewpoint of 'real and unrealistic world' and 'maze and labyrinth' could we meet the same woman as Tanizaki-junichiro has met.
Going through this process, he allowed his woman to have her 'metamorphosis' by the procedure of the 'synthesis' of 'real world and unrealistic world', which is one of the most powerful tools of films.
This synthesis is different from the metamorphosis of Japanese traditional play. His literary pieces work on the assumption that she could metamorphose by the encounter of real human beings and unrealistic soul, which could be seen only on the movies of western world.
Viewed through these key words, the work of 'SHISEI' has followed these steps faithfully. His masterpiece 〈sentence pattern;bunsyodokuhon(1933)〉 explains why he showed so much affection to the components of movies. That is for writing 'a sentence to be seen', 'a sentence to memorize easily', and 'a sentence to live in one's memory'.
SHISEI is the first trial for Tanizaki's syntax and is a staged work for his grafted tool with films. With these prospect, we feel like we are seeing a movie the moment when we begin to read the novel of 'SHISEI' and the woman with whom we meet will live forever in our memory with glory.
谷崎の大正期の作品の多くは、映?との?係を切り離して考えることが出來ない。それは作品の所?に見られるその?時の映?の雰??を?み取ることができるからである。それは、映?に?する谷崎の映?へのこだわりを示した評論や、谷崎自身も大正活動??の顧問として(1920)、映?製作に携わっていたことからも窺い知ることが出來る。その?時の映?と谷崎との?連性にして?表された多くの先行の論文を見ても、それは明らかである。
ところが、演劇を嗜好して書かれた「誕生」(1910ㆍ9)と、初めて作品に映?という要素を取入れた「秘密」(1911ㆍ11)の間に執筆された「刺?」(1910ㆍ11)に?しては、谷崎の本格的な映?活動前の作品であることから、その?連性というのが看過されてきたのが、今の谷崎?究の現?である。そこで?表者は、「刺」と映?の?連性を考察した結果、「刺?」には谷崎の映?に?して持っていた重要な手掛かりが?されていることを見つけることが出來た。
谷崎の映?へのこだわりという視点から「刺?」を?み解くためのコ?ドを、三段階に分けて?明することにする。
まず第一段階として、谷崎が好んだ映?には必ず谷崎が理想とする女性が登場したということである。第二段階は、その理想の女性にいに行く、つまり、映?館に行くためには、映?館という目標に?り着かないとうことが出來ないという、いわば、迷路とも言える設定がなされている。そしてその迷路を通過した後、映?館に入って?せられるのは、結末がどうなるか分からない映?、つまり、迷宮の世界となっているのである。そして最後の段階で、非現?である映?に登場する現?の女性の姿に、映?の女性の世界とは違う?物でない非現?の魂と見られるフィルムを合成することによって、女性を?魔へと?身させるのである。姿、形だけではなく、非現?の魂が現?の?に吹き?まれてこそ、谷崎が望む女性へと?身を遂げるのである。その女性は映?の照明と同じような光を浴びながら登場する。それが谷崎の頭に永遠に刻み?まれのである。
このようにして作品「刺?」を?んでいくと、映?にするこだわりが、正に作品に溶け?んでいることが分かる。では何故谷崎はこのような小?「刺?」を?表したのだろうか。それは「文章?本」(1933)に書かれてある次の三つ言葉で?明出來ると思う。谷崎はそこで、文章とは、〈目に見える文章〉〈記憶に?る文章〉〈頭に?き付けられる文章〉であるべきだと述べている。前述の三段階の過程を?ることによって、谷崎が唱える理想の文章が、「刺?」で?現されたのである。谷崎は映?へのこだわりを自分の文章に生かし、小?「刺?」からそれを?現しようとしたのではないだろうか。
목차
〈要旨〉
1、はじめに
2、谷崎の映?認識
3、結論
〈?考文?〉
ABSTRACT
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